In 1998, after many years of working in painting and photography, I discovered that I had a natural affinity for installation art. Though my very first installation had a major photographic component, I soon found that medium too limiting for my ideas. I quickly found myself using a wide variety of materials and building environments on a larger and larger scale.

My working style would probably be considered unusual as I rarely make drawings. I usually “pre-visualize” an idea and allow it to incubate while I work in other mediums, usually painting.When I consider my idea ready for three dimensions, I build a prototype in my studio.Through this process I work out potential construction problems that may occur in a variety of venues.At that point, I photograph the piece and begin my search for an appropriate site. I don’t believe there in an “ideal space”. The site made available to me dictates the final work and becomes site-specific in every detail.

As I review my body of work, I see recurrent themes in my installations.I believe that any work of art at some point becomes a future archeological artifact that speaks to cultural values and beliefs of the society that created it.I am also concerned with how art-making reflects the science and technology of its time; how it is used to define progress and its impact on future generations.This has lead to my fascination with I call the “in-between state” where I allow myself to play with the law of physics and create works that appear to defy gravity, suspended in time and space. I consider my work a success when it disturbs, disorients and/or provokes thought on viewer’s part.